INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
it as well. Checkered
it as well. Checkered Shade (Timo Andres), which owes much to David Lang, is inspired by a fractal drawing, and feels like the musical equivalent of scrolling out on a satellite map of earth until only a dot remains. In Hand Eye, Eighth Blackbird strides over the boundary between inspiration and art. JAZZ AND IMPROVISED Elliot Wright Far & Near Brenda Lewis Independent BL-00220 (brendalewis.ca) !! With her second jazz-inspired CD release (and fifth as a leader), rich and sonorous vocalist Brenda Lewis has presented an exceptional and intriguing recording. Co-produced by Lewis and longtime collaborator, guitarist/keyboardist Margaret Stowe, she has created a compellingly stripped-down performance and recording unit, which harkens back not only to Neolithic and contemporary jazz, but also embraces timeless roots, blues, gospel and Afrocentric folk musics. All of the arrangements here involve a Spartan but potent instrumentation of voice, electric guitar, keyboards and the contributions of multiinstrumentalist Jeff Bird on harmonica, mandolin, bass and percussion. Lewis fires her opening salvo with an appealing and no-nonsense take on Do You Know What it Means to Miss New Orleans (featuring Bird on a soulful harmonica solo). Her adept jazz sensibility (as well as her variegated alto voice) is beautifully displayed on the classic jazz standard A Nightingale Sang in Berkeley Square. Lewis wisely includes a tip of the hat to her folk-ish/Western swing roots with the old warhorse, Cow Cow Boogie (which also features hearty solos from Bird and Stowe). Of special note is the jaunty He Surprises Me and the lovely I Wave Bye-Bye, in which Lewis evokes an almost Celtic aura of heartbreak and longing. Very few vocalists would have the courage to present themselves in such an exposing, bare-bones way, but Lewis is refreshingly fearless, committed and transparent in her approach and taste; her consummate vocal skill shines throughout. Lesley Mitchell-Clarke Concert Note: Lewis will be launching Far & Near at Toronto’s Jazz Bistro on May 15 accompanied by Margaret Stowe and bassist Rosemary Galloway. Life Lessons Avery Raquel Independent (averyraquel.com) !! Fourteen-year-old jazz vocalist Avery Raquel is a delightful breath of fresh air and already an international success, having appeared at key festivals and venues. On her debut CD, she serves up a tasty collection of jazzified material that includes compositions from such diverse artists as Harold Arlen, Stevie Wonder, Johnny Mercer and Sting. Raquel’s voice is a diaphanous thing, ripe with jejune optimism as well as an effortless, innate understanding of vocal jazz. She is joined here by her skilled trio of producer/arranger Rob Fekete on piano, Mike Pelletier on bass and Joel Haynes on drums. Kicking off the disc is a swinging take on Arlen and Mercer’s Ac-cent-tchu-ate the Positive. Raquel’s jazz chops are clearly evident, and her superb trio has an opportunity to stretch out in this fine arrangement. Also of note is Raquel’s take on the popular standard, Que Sera Sera, which was made famous by Doris Day in the film The Man Who Knew Too Much and is rendered here in a bluesy context that seems a very comfortable fit for Raquel. The funky Wonder hit, Don’t You Worry ’Bout a Thing is a delight and utilizes Raquel’s natural, unpretentious, soulful feel. Other highlights include a rhythmic, Latin-infused arrangement of Sting’s Fragile, and although of tender years, Raquel’s emotional maturity and meaningful interpretation of this haunting ballad can’t help but resonate with the listener. A stunner is Arlen’s anthem of hope and longing, Over the Rainbow. A pristine a cappella intro is followed by a lyrical and uncluttered vocal interpretation that is both touching and musically eloquent. Lesley Mitchell-Clarke Concert Note: Avery Raquel is one of the featured artists at Jane Harbury’s Discoveries series at Hugh’s Room on May 3 at 8:30. Saga Thirteen Pram Trio Independent (pramtrio.com) !! Pram Trio’s Saga Thirteen offers a refreshing and contemporary take on the time-honoured piano trio format. The album’s six tunes share a penchant for rhythmic adventure and a fluid approach to the line between composition and improvisation. This is unabashedly tonal music that isn’t afraid to be tuneful or leave space for the listener to enter. The playing and writing have a strong conversational element and, while the virtuosity of the group’s members is evident, the overall impression is of a distinct and identifiable group sound. Bassist Mark Godfrey’s April opens the record with a compelling two-chord vamp supporting a deceptively simple melody. The trio’s sense of dynamics and interplay are clearly the work of three equal voices and pianist Jack Bodkin’s solo, displaying a remarkable range of materials, emerges from the mix in an organic fashion. Bucket List, also by Godfrey, begins with a rootsy bass intro leading to a folk-like melody that proceeds to take some surprising turns. Bodkin’s Mrs. Kim Visits the Living Room Alone juxtaposes an intriguing piano figure over Eric West’s rocking drum groove. March rhythms compound time signatures and contrasting sections unite to form this compact, through-composed piece. Control, another Bodkin composition, continues the through-composed theme with an exercise in space and brevity, aided by West’s open, transparent style. Godfrey’s Treptower Park returns to more familiar jazz terrain with exciting and inventive playing from the whole band. Bodkin’s piano solo in particular is a marvel of colour and variety. Ted Quinlan Starer Nick Fraser Independent (nickfraserthedrummer.com) !! Nick Fraser is an indispensable part of the Toronto jazz scene, a highly skilled, imaginative drummer whose broad swath distinguishes groups from fusion (Peripheral Vision), free jazz (Drumheller) and electroacoustic improvisation (Lina Allemano’s Kiss the Brain) as well as the jazz mainstream. He’s recently emerged as a significant bandleader. This is the second CD (also available as an LP) by his quartet, and the music is distinguished by both its personnel and Fraser’s approach to composition, developing a distinct group language for the quartet. The band combines cellist Andrew Downing and bassist Rob Clutton (functioning as a string section as well as in more traditional roles) with saxophonist Tony Malaby, a titan of current free jazz. Fraser’s compositions, often titled Sketch with a number following, are literally that, brief devices or figures to be elaborated in improvisation. Their character and usefulness is apparent from the opening minimalism/ 416-538-7149 in which Downing and Clutton establish a tense polyrhythmic field to which each musician gradually contributes. Sketch #29 begins as an elegiac ballad, bowed by Downing and Clutton in advance of Malaby’s entry; Jupiter (Sketch #15) develops complex, abstract, intersecting lines between cello and soprano. 72 | May 1, 2016 - June 7, 2016 thewholenote.com
On one occasion Fraser’s sketches come as a pair, maximizing contrast in a single piece: in its initial segment, Sketch #20/22 includes a playful pointillist dialogue between cello and drums; the concluding phase presents the tenor saxophone as high-speed drill, Malaby finding a level of intensity few can reach. The concluding Sketch #21 provides a tranquil contrast with Malaby on soprano, exploring not only its usual piquant flavour and subtle multiphonics, but initially pressing the instrument towards a flute-like sonority. Stuart Broomer Concert Note: Nick Fraser is appearing at the Rex on May 4 and 5 to launch two CDs by two bands: Starer with his quartet, as well as Too Many Continents (Clean Feed) with Tony Malaby and pianist Kris Davis. Gestes GGRIL Tour de Bras TDB CD 90015 (tourdebras.com) !! GGRIL is an acronym for the Grand Groupe Régional d’Improvisation Libérée, a 12-member ensemble led by bassist Eric Normand that’s devoted to collective improvisation and conduction, or conducted improvisation. Based in the unlikely hamlet of Rimouski, Quebec, the group has nonetheless managed to collaborate with international soloists and recently completed a European tour. Gestes marks their continuing development, a program of five improvisations and a piece by percussionist Danielle P. Roger. Perhaps it’s the relative isolation from musicians of similarly radical orientation, but GGRIL has developed a very high level of sustained interaction, evident here in continuously controlled work in which both individual and group invention are in sharp focus. The group’s odd mix of instruments – brass, reeds, accordion and a collection of guitars, strings and percussion – creates striking contrasts, while the musicians’ heterodox backgrounds have them drawing simultaneously on elements of classical, jazz, folk, and industrial music. Les gestes permettent… moves through distinct texture and moods, first featuring the warmly plaintive trombone of Gabriel Rochette, then shifting to a passage of Webern-esque spikiness from violinist Raphaël Arsenault that’s set against the sustained tones of lowpitched reeds. That passing invocation of high modernism gives way to random snare rattles and feedback guitars. Other dimensions of the group’s resources are evident in the verbi-vocal explosions of De nombreux humain…, the dissonant brass blasts of Les signes… and the sustained machine rhythms of Mais au delà de montrer… as GGRIL continues to find ways to challenge themselves and audiences alike to take that next step. Stuart Broomer Live at the Tranzac Vol.1 Ken Aldcroft; William Parker Trio Records TRP-D504-023 kenaldcroft.com/triorecords.asp !! It is always curious to hear about musicians moving to Toronto where the establishments supporting creative music are few and far between, especially if these musicians relocate from Vancouver or Montreal. But who’s complaining? I am at great risk of losing an arm and a leg for suggesting better the Vancouver-born Ken Aldcroft than a hockey player from the U.S. for the Maple Leafs. However, when you hear his 2016 recording with bassist William Parker it all becomes eminently clear. Both men have reputations for being key 21st-century innovators. Parker and Aldcroft worship at the altar of creativity and if you needed more reasons to appreciate those facts, they are all on this remarkable album, Live at the Tranzac Vol.1. There is never a dull moment on this long piece, simply entitled Set 1. Ideas abound and the music virtually bustles with energetic rhythm and vigorous figurations with no hint of ever coming to an end. The music weaves in and out of melodic phrases and features ever arresting improvisation that challenges even the instrument’s timbral colour. This is a dazzling performance – with Parker also featured on the Japanese shakuhachi and the West African donso ngoni – and when imbued with the intensity and imagination of Aldcroft and Parker the music emerges with a constant stream of new colours, emotions and effects. Moreover, both musicians are supreme masters of musical invention, as this recording triumphantly demonstrates. Raul da Gama Utilities See Through 5 All-Set AS001 Transcombobulation Mike Smith; Jonathan Adjemian All-Set AS003 Never Get Lost for Long Ali Berkok All-Set AS002 (all-set.org) !! The experimental music scene in Toronto is bustling. It had all but been written off with the virtual retirement of Bill Smith, who, almost single-handedly, brought in musicians such as trombonist George Lewis, the great Anthony Braxton, bassist Dave Holland and many others. Together with the late John Norris, Smith put a lot of the 60s avant-garde on the Sackville label. With Smith in hermitage and the death of John Norris, the centre of this daring music seemed to shift to Guelph, Ontario, where the annual festival seemed to be the only event that showcased the new music. But the Greater Toronto Area appears to have awoken again and the latest manifestation of this is a new imprint called All-Set! (all-set.org). This enterprise founded by bassist Mike Smith has exploded out of the blocks with three discs featuring bold new music where conventional instruments have been leavened with electronica. Some people’s reaction on hearing the synths and loops of See Through 5 on Utilities might be “this is not a jazz album.” But Mike Smith, pianist Tania Gill, bassist Pete Johnston, reeds and woodwinds specialist Karen Ng and percussion colourist Jake Oelrichs may confound yet please critics. But then the virtuoso musicians seem to have cut the improvised to the bone and turned it into tracks with tunes or at least music with irresistible hooks. To complement the crisp clarity of the electronics, See Through 5 have sown carefully constructed pieces with sections of Ng’s magisterial saxophone and clarinet improvisations. As a studio production it works beautifully. Once you get past the almost unpronounceable title of this recording, Transcombobulation by Mike Smith and Jonathan Adjemian, you truly enjoy its exploratory music. This is a six-part musical adventure that abounds in variety, depth and invention. Smith is among the foremost of the talented Toronto musicians who has developed an individualistic, difficult-to-classify personal genre. On this riveting disc, Smith and Adjemian imaginatively and (by-and-large) subtly mix in elements of electronic music, rock and contemporary composition with an occasional nod to noise music. Although the pieces develop from beguiling, elegant melodies, what makes them special are Smith and Adjemian’s arresting textures and colours. Ali Berkok’s Never Get Lost For Long is one of the most adventurous recordings by a Canadian in a considerable length of time. Angular, with a proverbial doffing of the thewholenote.com May 1, 2016 - June 7, 2016 | 73
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
